Grade 6, ELA Unit 1: Activity 1
|ELA.6.9 |Compare and contrast elements (e.g., plot, setting, characters, theme) in a variety of genres. |
|How is the plot of this text similar to or different from another book you’ve read? |
|Describe the primary setting of this text. How is the setting of this text similar to or different from another book you’ve read? |
|How are the characters in this book similar to or different from those in other books you have read? |
|Determine the theme of your book. How is the theme similar or different from another book you have read before? |
|ELA.6.11a |Demonstrate understanding of information in grade-appropriate texts using a variety of strategies, including |
| |sequencing events and steps in a process. |
|Develop a timeline of events in your book. |
|What are the five most important or significant events in your book at this point? |
|ELA.6.11b |Demonstrate understanding of information in grade-appropriate texts using a variety of strategies, including |
| |summarizing and paraphrasing information. |
|Summarize the most recent chapter read in your independent reading book. |
|Select one passage from your book. Paraphrase it. |
|ELA.6.11c |Demonstrate understanding of information in grade-appropriate texts using a variety of strategies, including |
| |identifying stated or implied main ideas and supporting details. |
|Identify the main idea of the __________ (novel, chapter, or passage). Label the main idea as stated or implied. |
|List supporting details in support of the main idea you identified. |
|ELA.6.11d |Demonstrate understanding of information in grade-appropriate texts using a variety of strategies, including |
| |comparing and contrasting literary elements and ideas. |
|How does the author use literary elements in this _______ (novel, chapter, or story)? |
|Compare and contrast the use of two literary elements. |
|ELA.6.11e |Demonstrate understanding of information in grade-appropriate texts using a variety of strategies, including |
| |making simple inferences and drawing conclusions. |
|As you read this _______ (novel, chapter, or passage), make a list of inferences you make. Identify the background knowledge you used to |
|form each inference. |
|ELA.6.11f |Demonstrate understanding of information in grade-appropriate texts using a variety of strategies, including |
| |predicting the outcome of a story or situation? |
|What do you think will happen next (in tomorrow’s reading? |
|What events led you to this prediction/ |
|ELA.6.11g |Demonstrate understanding of information in grade-appropriate texts by identifying literary devices. |
|Make a list of metaphors, similes, or imagery the author has used to bring events to life for the reader. |
|ELA.6.14 |Analyze an author’s stated or implied purpose for writing (e.g., to explain, to entertain, to persuade, to |
| |inform, to express personal attitudes or beliefs). |
|What was the author’s purpose for writing (to explain, to entertain, to persuade, to inform, to express personal attitudes or beliefs, or a|
|combination of these)? How do you know? Use evidence from the novel to support your choice. |
Frayer Model Vocabulary Card
|Definition: |Characteristics: |
| | |
| | |
| | |
| | |
| | |
| | |
| | |
|Example: |Non-Example: |
| | |
| | |
| | |
| | |
| | |
| | |
| | |
Frayer Model EXAMPLE
|Definition: |Characteristics: |
|A solid made of atoms arranged in an ordered pattern |glassy |
| |clear colored |
| |brightly colored |
| |evenly shaped |
| |patterned |
| |glimmer or sparkle |
|Example: |Non-Example: |
|metals |coal |
|rocks |pepper |
|snowflakes |snowflakes |
|salt |lava |
|sugar |obsidian |
Word Map
[pic]
Vocabulary Self-Awareness Chart
|Word |+ ? ( |Example |Definition |
| | | | |
| | | | |
| | | | |
| | | | |
| | | | |
|Word |+ ? ( |Example |Definition |
| | | | |
| | | | |
| | | | |
| | | | |
| | | | |
|Word |+ ? ( |Example |Definition |
| | | | |
| | | | |
| | | | |
| | | | |
| | | | |
Drama Vocabulary
• ad lib: To extemporize stage business or conversation.
• at rise: Who and what are on stage when the curtain opens.
• back or backstage: The area of the stage that is not visible to the audience.
• bit: An acting role with very few lines.
• blocking yourself: Getting behind furniture or other actors so you cannot be seen by the audience.
• building a scene: Using dramatic devices such as increased tempo, volume, and emphasis to bring a scene to a climax.
• business: Any specific action other than movement performed on the stage such as picking up a book or turning on a TV.
• C: The symbol used to identify the center of the stage.
• cast: (As a noun): The actors in the play. (As a Verb): To give individuals certain parts in a play.
• counter-cross: A shifting of position by two or more actors to balance the stage picture.
• cover: To obstruct the view of the audience.
• cross: The movement by an actor from one location to another on-stage.
• cue: The last words, action, or technical effect that immediately precedes any line or business; a stage signal.
• curtain: The curtain or drapery that shuts off the stage from the audience; when written in all capital letters in a script, it indicates that the curtain is to be closed.
• cut: To stop action or to omit.
• cut in: To break into the speech of another character.
• dialogue: The words spoken by the characters in a play.
• down or downstage: The part of the stage toward the audience.
• dressing the stage: Keeping the stage picture balanced during the action.
• exit or exuent: To leave the stage.
• feeding: Giving lines and action in such a way that another actor can make a point or get a laugh.
• foil: An acting role that is used for personality comparison, usually with the protagonist or main character.
• hand props: Properties such as a letter or luggage, carried on stage by an individual player.
• hit: To emphasize a word or line with extra force.
• holding for laughs: Waiting for the audience to quiet down after a funny line or scene.
• left and right: Terms used to refer to the stage from the actor's point of view, not that of the audience.
• milk: To draw the maximum response from the audience from comic lines.
• movement: Using one’s body and its ability to move through space to affect character, time, and place.
• off or offstage: Off the visible stage.
• on or onstage: On the visible stage.
• overlap: To speak when someone else is speaking.
• pace: The movement or sweep of the play as it progresses.
• pantomime: Acting without words; using the body to express an idea, an emotion, or a character.
• personal props: Small props that are usually carried in an actor's costume, such as money, matches, a pipe, or a pen.
• places: The positions of the actors at the opening of an act or scene.
• plot: To plan stage business, as to "plot" the action; to plan a speech by working out the phrasing, emphasis, and inflections.
• pointing lines: Emphasizing an idea.
• principals: The main characters in a play.
• properties or props: All the stage furnishing, including furniture.
• protocol: Courtesies that are established as proper and correct behavior.
• ring up: To raise the curtain.
• role scoring: The analysis of a character.
• scene: A part of a play or short improvisation.
• script scoring or scripting: The marking of a script for one character, indicating interpretation, pauses, phrasing, stress, and so on.
• set: The scenery for an act or a scene.
• set props: Properties placed on stage for the use of actors.
• showmanship: A sense of theatre and the ability to present oneself effectively to the audience; stage charisma.
• sides: Half-sheet pages of a script that contain the line, cues, and business for one character.
• stage directions: UP is away from the audience. DOWN is toward the audience. CENTER is in the middle of the stage. RIGHT is to the actor’s right when facing the audience. LEFT is to the actor’s left when facing the audience.
• stealing a scene: Attracting attention from the person to whom the center of interest legitimately belongs.
• subtext: Character interpretations that are not in a script but are supplied by the actor.
• tag line: The last speech in an act or a play, usually humorous or clever.
• taking the stage: Giving an actor the freedom to move over the entire stage area, usually during a lengthy speech.
• tempo: The speed at which the action of a play moves along.
• timing: The execution of a line or piece of business at a specific moment to achieve the most telling effect.
• top: To build to a climax by speaking at a higher pitch, at a faster rate, or with more force and greater emphasis than in preceding speeches.
• up or upstage: The area of the stage away from the audience, toward the back wall.
• upstaging: Improperly taking attention from an actor who should be the focus of interest.
• voice: (As an art form): A condition or quality of a vocal sound that communicates a feeling.
• walk-on: A small acting part which has no lines.
• warn: To notify of an upcoming action or cue.
• working script: An unfinished, unpublished, original script that is usable for purpose of the drama. Might be changed in the course of rehearsals.
Book: __________________________
|date |word |sentence(s) from context, |definition |restatement |
| | |page number | | |
| |
|Sentence Fragments |
|Literary Devices [flashback, foreshadowing, imagery] |
|Sentence Fragments |
|Literary Devices [flashback, | |( | |( |
|foreshadowing, imagery] | | | | |
|Play | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
|Poetry | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
| | | | | |
Written Summary Rubric
| |4 |3 |2 |1 |
|Ideas and Key Points |Supporting information creates a clear |Supporting information creates a clear |Much supporting information missing. |Most supporting information missing or |
| |and complete explanation. |but partial explanation. | |indiscriminately lists information |
|Organization |Organization is logical, with smooth |Organization is mostly logical, with a |Organization is choppy, with few or no |Organization is random or disconnected. |
| |transitions |few transitions |transitions | |
|Audience Awareness and Style |Writing is clear and expressive. |Writing is clear. Sentences are somewhat|Writing is unclear or simplistic |Writing is unclear or simplistic. |
| |Sentences connect with natural |varied in style. |sentences are choppy or awkward. |Sentences are choppy or awkward. |
| |flow/rhythm and are varied in style. | | | |
|Vocabulary and Word Choice |Word choice is specific, accurate, and |Word choice is clear but not expressive.|Word choice is simple. Subject specific |Word choice is simple or inappropriate |
| |natural. Subject-specific vocabulary is|Some subject specific vocabulary is |vocabulary is missing. |to the subject, student copies from the |
| |applied with understanding. |used. | |reading selection. |
|Conventions |Few or no convention errors. |Some convention errors, but they do not |Frequent convention errors. |Convention errors frequent; make writing|
| | |affect comprehension. | |hard to understand. |
Scene/Skit Performance Rubric
| |4 |3 |2 |1 |
|Sound Effects |Sound effects very realistic and make a |Sound effects are somewhat realistic |Some sound effects are used but |Little to no realistic sound effects |
| |major contribution to the overall quality of|and make some contribution to the |contribute very little to the overall |are used; those used do not contribute |
| |the play. |overall quality of the play. |quality of the play. |to overall quality of play |
|Script |Story line has definite plot with a |Story line has identifiable plot with a|Story line was attempted but the |Story line is not easily identified; |
| |well-defined beginning, middle, and end; |recognizable beginning, middle, and |beginning, middle, and end were not |integration of characters into the |
| |characters fully integrated into the story; |end; characters somewhat integrated |consistently recognizable; characters |story is not present; plot does not |
| |plot holds attention of the audience |into the story; plot holds attention of|are integrated very little into story; |hold the attention of the audience. |
| |throughout. |the audience most of the time. |plot holds audience attention some of | |
| | | |the time. | |
|Performance |Play was very entertaining and held |Play was entertaining and held |Play was moderately entertaining and |Play was not very entertaining and did |
| |attention of the audience throughout ; few |attention of the audience during most |held the attention during some of |not hold the attention of the audience.|
| |errors were made in the performance; sound |of performance; minor errors made in |performance; some errors made in |Many errors were made in the |
| |effects well integrated; transitions between|the performance; sound effects somewhat|performance; integration of sound |performance. Integration of sound |
| |segments smooth. |integrated; transitions between |effects was attempted but not entirely |effects was poor. Transitions between |
| | |segments had little hesitation. |successful; transitions between |segments were poor. |
| | | |segments choppy. | |
Text Marking for Emphasis
• Highlight your speeches in your copy of the script. Mark only words you will speak—not role tags or stage directions. (Yellow non-fluorescent marker is best.)
• Underline words that tell about anything you’ll need to act out—words in either the stage directions or other readers’ speeches. If you’re given extra stage directions later, write them in the margin with pencil.
• Read through your part silently. If there are words you’re not sure of, look them up in a dictionary. If there are words you must remember to stress, underline them. If there are places you’ll need to pause, mark them with a couple of slashes, //. (For instance, you may have to pause so the audience will know there’s a change of scene or time in the story.)
• Read through your part out loud. If you’re a character, think about how that character would sound. Should you try a funny voice? How would the character feel about what’s happening in the story? Can you speak as if you were feeling that?
• Get up and read through the script again, trying out faces and actions. Would your character stand or move a special way? Can you do that? If possible, do all this in front of a mirror.
Even before you give your readers their scripts, you can help them by reading to them the script or its source story. Effective modeling will give them a head start against any difficulties. You may also want to discuss the difference between characters and narrators. (“In the story, character parts are inside the quotation marks, and narrator parts are outside.”)
SAMPLE CUE CARD
Cue cards outline key points in the script. They keep you on track during a monologue. Imagine your script starts out like this:
My name is Benjamin Duggan. I was born in Dublin, Ireland, in 1823. When I was 6 years old, my family moved to Macon, Georgia, where I began to work in a mill. My family was very poor. I had to work many hours a day. At first, I worked 13 hours a day. Later, I worked as many as 17 hours a day. The job was very hard. If I didn’t do it well, I was beaten or “weighted” that is, an overseer put a heavy weight around my neck and made me work with the weight on for an hour or more at a time. Today, my back is crooked because the marrow dried out of my bones from too much standing with a weight on. I can no longer stand up straight or walk well.
Your first cue card might look something like this:
|Benjamin Duggan |
|Born in: Dublin, Ireland—1823 |
|Worked in: mill |
|Macon, Georgia (family was poor) |
|Benjamin’s POV (point of view): |
|• worked too many hours—13 per day, then 17 per day |
|• beaten, especially when young |
|• forced to work “weighted” |
|• back now crooked—bone marrow dried out from too much standing—no strength—can’t straighten up |
You can now use this cue card as a prompt to recall ideas from your script.
Now, you try to create a cue card on a character from your play.
Character Journal Requirements
As a part of our study of plays, and to help you understand the literary concept persona, you will be responsible for keeping a Character Journal.
Format requirements
Your journal should have at least one entry per scene in the play. It should be set up like a diary and include the day and time of the entry. You may add illustrations or other embellishments if you wish.
Content requirements:
|Basic | Your journal gives your character’s perspective on the events and predictions of how he or she might act in a given |
| |situation. You should also predict upcoming events based on the events that have occurred in the scene, and offer advice |
| |to the other characters (or ask for advice from them). |
|Moderate | Your journal also gives your character’s reactions to the other characters—do you think them foolish, wise, crazy, |
| |blind, etc.? |
|Mastery | Your journal also includes your character’s reflections on the major issues and themes, and demonstrates how personal |
| |beliefs influence his or her reactions. |
Questions about the persona
|Name | |
|Age | |
|Parents’ names? (If unknown, create one.) | |
|Parents’ occupation(s) | |
|Siblings | |
|Social class (e.g., royalty, nobility, middle class, merchant, | |
|servant) | |
|Living Arrangements (where and with whom?) | |
|Attitude about marriage | |
|Religion: How might religion influence his or her behavior? | |
| | |
|Who makes the laws your persona must follow (e.g., rulers, parents, | |
|society)? Explain. | |
|Travel Experience | |
|Three goals for Persona: |1) |
| | |
| |2) |
| | |
| |3) |
|Usual Behavior for Persona? | |
| | |
|Unusual Behavior? | |
|How does he or she judge a person (e.g., honesty, deeds, education)? | |
|Group Process Rubric |
|GROUP BEHAVIOR |4 |3 |2 |1 |
|Cooperation |All members work well |Most members work well |Some members work well |Teacher intervention needed |
| |together all of time and |together most of time; little|together sometimes; some |often to help group |
| |assist others when |teacher intervention needed. |teacher intervention needed. |cooperate. |
| |needed. | | | |
|Contribution |All members contribute |All members contribute |All members contribute, but |One or more members do not |
| |equally, some even more |equally. |unequally. |contribute. |
| |than required. | | | |
|Effort |Team on task and working |Team on task and working most|Team on task and working most|Team needs frequent teacher |
| |all the time without |of time, needing few teacher |of time, but sometimes needs |reminders to work and stay on|
| |teacher reminders. |reminders. |teacher reminders. |task. |
|Communication |Each member listens well |Most members listen to one |Many members need teacher |Most members need frequent |
| |to other members, |other and generally speak in |intervention to listen and |teacher interventions to |
| |speaking in friendly and |encouraging words and tones. |speak to each other |listen and speak to each |
| |encouraging words and | |appropriately. |other appropriately. |
| |tones. | | | |
Story Elements Planner
[pic]
[pic]
Audience Checklist
Instructions: After each performance (except for your own group), record the conflict and resolution in the appropriate columns. Write “My Group” when your group performs. Please do not write during performances.
|Conflict |Resolution |
|Group 1 | | |
| | | |
| | | |
|Group 2 | | |
| | | |
| | | |
|Group 3 | | |
| | | |
| | | |
|Group 4 | | |
| | | |
| | | |
|Group 5 | | |
| | | |
| | | |
|Group 6 | | |
| | | |
| | | |
|Group 7 | | |
| | | |
| | | |
|Role |Duties |Organization |Technology Needed |Deadline |Student |
|facilitator | | | | | |
| | | | | | |
| | | | | | |
|director | | | | | |
| | | | | | |
| | | | | | |
|casting director | | | | | |
| | | | | | |
| | | | | | |
|screenwriter | | | | | |
| | | | | | |
| | | | | | |
|other | | | | | |
|(if needed) | | | | | |
| | | | | | |
Dialogue that Reveals Character and Advances Plot
Try an independent practice in writing dialogue focusing on a single character trait for one or more of the characters in your play.
Be sure to include stage directions (a movement or action) in writing the speaker tag (the words that tell who’s talking) for each bit of dialogue.
EXAMPLES of DIALOGUE with stage directions WHICH REVEAL A SINGLE CHARACTER TRAIT:
o nervousness from a friend: “I know I’m going to blow it,” Allyson said with a catch in her voice, as she stepped up to the microphone.
o disappointment from your dad: Sadly shaking his head, Dad said softly, “I know you can do better, Son. That wasn’t your best effort.”
o anger from your sister: “Stay out of my room,” shouted my sister, slamming the door behind her.
o fear from your mother: “Don’t touch that pot! It’s hot.” shouted my mom, as she raced toward me.
Try some of your own.
Character’s Name: _______________________________
Observed or Remembered Character Traits/Behaviors/Habits:
Single Character Trait (Name one) ________________________ for _____________________________ (Name of character):
Practice Dialogue (with stage directions) to reveal this trait:
Name_________________________________________ Date ______________ Pd. ______
Writing a Teleplay Title of Piece____________________________________________
CRITERIA:
Format of Teleplay
The script is correctly formatted, lists major and minor characters, is in dialogue form
and uses stage directions and camera/shot instructions as needed. 1 2 3 4 5
The script is neatly typed or word processed. 1 2 3 4 5
The story quickly sets up the main character’s REALISTIC problem or conflict
and follows one of the six basic plots of fiction. 1 2 3 4 5
Body of Teleplay (Story as a Whole)
The events of the story are arranged in logical order and are easy to follow. 1 2 3 4 5
There is a consistent and REALISTIC point of view throughout the play. 1 2 3 4 5
Character traits are revealed through REALISTIC dialogue and character actions. 1 2 3 4 5
The plot is advanced through sound effects, dialogue, and through character behaviors. 1 2 3 4 5
The story uses at least two REALISTIC complicating incidents/events
in the plot in order to create REALISTIC dramatic tension. 1 2 3 4 5
Conclusion of Teleplay
The story has a satisfying resolution that logically resolves the central conflict. 1 2 3 4 5
The script is relatively free of mistakes in spelling, grammar, usage,
mechanics, and manuscript form (Use spell-check; proofread your work!) 1 2 3 4 5
{Possible: 50 points x 2 = 100 points} TOTAL ________ X 2 = _________ Final Grade_____
Invitation Rubric
|3 |2 |1 |
|The invitation is designed in an interesting |The invitation is colorful, but lacks detail |The invitation lacks color. It shows an |
|and imaginative way. The art is colorful and |and imagination. |attempt at detail. |
|detailed. | | |
|The invitation demonstrates a logical plan of|The invitation demonstrates an attempt to |The invitation lacks a plan of organization. |
|organization and coherence, gives a vivid |organize the topic and gives a general idea |It minimally addresses the topic. |
|idea of the topic, and is easy to read. |about the topic. | |
|The ideas on the invitation include clear and|The ideas on the invitation give some |The invitation conveys little or no sense of |
|understandable information about the topic |understandable information about the topic |information about the topic (what, where, |
|(what, where, when, why). |(what, where, when, why) |when, why). |
|The invitation contains few or no errors in |The invitation contains some errors in |The invitation contains many errors in |
|mechanics. |mechanics that interfere with communication. |mechanics that seriously interfere with |
| | |communication. |
Video Critique Rubric
|CATEGORY |4 |3 |2 |1 |
|Character Accuracy |Character's dialogue is |Character's dialogue is |Character's dialogue is |Character's dialogue is not |
| |90-100% accurate according |70-90% accurate according to|50-70% accurate according to|accurate according to |
| |to persona projected from |persona projected from story|persona projected from story|persona projected from story|
|Score: ______ |story | | | |
|Actions |Actions of character |Actions of character fairly |Actions of character |Actions of character do not |
| |convincingly convey intended|convincingly convey intended|somewhat convincingly convey|convincingly convey intended|
| |emotion |emotion |intended emotion |emotion |
| | | | | |
|Score: ______ | | | | |
|Projection |Student can be comfortably |Student can be comfortably |Student can be somewhat |Student speaks either too |
| |heard in all parts of |heard in most parts of |comfortably heard in most |loudly or too softly. |
| |classroom |classroom |parts of classroom | |
| | | | | |
|Score: ______ | | | | |
|Performance and Sound |Performance was very |Performance was entertaining|Performance was moderately |Performance was not very |
|Effects |entertaining and held |and held attention of the |entertaining and held the |entertaining and did not |
| |attention of the audience |audience during most of |attention during some of |hold the attention of the |
| |throughout; few errors were |performance; minor errors |performance; some errors |audience. Many errors were |
| |made in the performance; |made in the performance; |made in performance; |made in the performance. |
| |sound effects well |sound effects somewhat |integration of sound effects|Integration of sound effects|
| |integrated; transitions |integrated; transitions |was attempted but not |was poor. Transitions |
| |between segments smooth. |between segments had little |entirely successful; |between segments were poor. |
| | |hesitation. |transitions between segments| |
| | | |choppy. | |
| |Text Notes-Reading Only |Text Notes-Viewing Only |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
| | | |
-----------------------
Key Word:
Key Word:
crystal
Definition: Synonym:
Antonym: Visual Representation [Drawing]:
Vocabulary Word:
Vocabulary Word:
Definition: Synonym:
Antonym: Visual Representation [Drawing]:
Vocabulary Word:
Definition: Synonym:
[pic]
Antonym: Visual Representation [Drawing]:
Story Elements
Characters
Setting
Plot
What effect does the setting have on the plot?
Describe the setting.
How are the characters developed?
What is the conflict?
How is the conflict resolved?
What is the sequence of events? Include: exposition, climax, rising action, falling action, and resolution.
Character’s Name:
Character Trait #1:
Character Trait #2:
Character Trait #3:
Supporting Detail
Supporting Detail
Supporting Detail
Supporting Detail
Supporting Detail
Supporting Detail
................
................
In order to avoid copyright disputes, this page is only a partial summary.
To fulfill the demand for quickly locating and searching documents.
It is intelligent file search solution for home and business.